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1 a Conversation with Jill Sobule by Frank Goodman

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1 a Conversation with Jill Sobule by Frank Goodman A Conversation with Jill Sobule by Frank Goodman Puremusic 3/2002 I first saw Jill Sobule play in my early days in Nashville, ’89. In those days, before the 48 Hours story and the forgettable movie that centered around it, The Bluebird Café was a hip place for aspiring songwriters to hang out. Between the New Traditionalist movement in the late 80s and early 90s spearheaded by Randy Travis and the Steve Earle/Lyle Lovett wave, a lot of new blood was coming into town. Songwriters and singers of many descriptions were thinking that this looked like a pretty hip scene, and it was, for a little while. To the newcomer, there were so many good songwriters to be absorbed and emulated in rooms like The Bluebird that one could go out every night (and I did) and see people that were writing hits, or writing great songs. And the town got bigger, even the newcomers could feel it swell. In those days, before the country boom of the mid 90s (and the inevitable, subsequent bust of the late 90s) one of the new writers on the scene was a diminutive, blonde dynamo from Denver named Jill Sobule. She wasn’t playing the tiny Vagabond Travel Guitar just yet, which would soon come to be her trademark. She was playing very cool, jazzy pop songs on a nylon string with a keyboard player who had a million great sounds. By jazzy pop songs I mean here that they were inventive, cutting edge pop songs that used jazz chords, not that they sounded in any way like jazz standards. She had a big stage presence in a tiny frame, which is always a confounding dichotomy. Sexy, but androgynous. Vulnerable, but she could ram it right down your throat. She was exciting. And she was good, so good that you’d be shaking your head in disbelief whenever a moment came that you could take your eyes off her. Then Michael Rhodes came into the picture. First as part of a trio, then for some duo gigs when the keyboardist went back to Denver. The gigs with Rhodes were my favorite, some of my favorite gigs of all time. As bassists go, I have never seen or heard anyone put down a bigger, badder groove than Michael Rhodes. Period. He also has an uncanny ability to adapt like a chameleon, no, like a guerrilla, to the situation at hand. He and Jill cut such a fine form physically, he so tall and shaven of head, he seemed also her bodyguard. Jill’s Dutch boy haircut and the steam coming off his head always looked so good in the stage lights. And they both had those penetrating eyes that seemed to be brighter than eyes usually are, and they were generally locked on each other. Their dynamics were pronounced, they’d get so quiet and then so crazed, they’d hit small pockets of free space where one or the other would improvise something, and the other would answer. I wish I could say I’ve seen a lot of shows that were that good since those incredible duo and trio gigs of Jill Sobule and Michael Rhodes, but it isn’t true. Jill’s first CD came out after that, the one she made with Todd Rundgren. It was great to have one, but it didn’t sound enough like those gigs to me. Really good record, though, called Things Here Are Different, MCA 1990. The so called missing album was made the following year with Joe Jackson, it never came out and MCA dropped Jill. 1 The second label was Atlantic/Lava. The fine 1995 recording Jill Sobule marked the beginning of her work with Robin Eaton and Brad Jones of Alex the Great Studios in Nashville, which is still ongoing. Off this disc she experienced her MTV breakout hit “I Kissed a Girl.” Just one of many great songs on that record. Atlantic/Lava also put out Happy Town in 1997, waffled on the single because it had the word “bitch” in it. (Very shortly later, Meredith Brooks had a huge breakout single called “Bitch.”) Atlantic dropped her. Beyond Records put out Pink Pearl in 2000, these are all really good records, every one. A retrospective called I Never Learned to Swim: Jill Sobule 1990-2000 came out on the same and current label, and is the finest introduction to Jill’s work available. (Plus, there’s a fab version of Lauro Nyro’s great song “Stoned Soul Picnic” that was a big hit for the Fifth Dimension in the 60s.) Why Jill Sobule is not yet a huge star is one of the many mysteries of life for me. But yet is the operative word, and more people catch on to her greatness every day. When you do (if you haven’t already), be so kind as to spread it around. Surrey down to the Listen page and check out the chick, she’s amazing. Jill came in to Portland Brew in the Sylvan Park section of Nashville looking very nice, we started talking about the Enron situation, getting our coffee and comestibles together. Jill Sobule: They’re the evildoers. Puremusic: It’s pretty loud in here, wow. Not to mention they’re playing really bad 80s stuff on the radio. You know, it’s not as easy as it should be to find out a lot about Jill Sobule on the Net. For our readers who may not be acquainted with you, we should get some kind of a quick grip on the long story. I think it starts in Denver, right? JS: Actually, my first professional gig was in Seville, Spain. I was on a third year abroad program from Colorado University, studying international affairs. I’d had rock bands, but only ever been the guitar player, I didn’t write. Well, I wrote, but they were only songs for me. PM: To the many people who consider you a great songwriter today, that’s probably interesting to imagine, it is to me. JS: The first time I ever played one of my songs in public was on a street in Seville. A friend of mine who was also on the program abroad, she was a flute player, said, “Come on, let’s go and play some music on the street.” I figured, “I’ll never see these people again, and they won’t know what I’m talking about anyway…” PM: And it’s hard to sing on the street, you have to sing really loud. JS: So, what happened was, when we played, this guy walked by with a big Great Dane. And he said, “Would you like to play in my nightclub?” So at first we thought, “Sure 2 buddy, what nightclub…” But his offer turned out be legitimate, and I ended up dropping out of school and playing his nightclub for three months. So I have often wondered how my life might have gone if that guy didn’t walk by. PM: Did you ever reach back for that guy in the years to come? [Jill shakes her head slowly] What’s the name of the club, in case I get to Seville? JS: Canela y Menta [Cinnamon and Mint], but it’s probably not there anymore. Anyhow, so when I went back to Denver, I had the bug. I started playing open mics, putting together a band, you know. PM: This is when? JS: Putting together a band, that’s mid to late 80s. PM: So, at Canela y Menta, you were playing covers, having only written a short list of songs? JS: I played the same songs over and over. I didn’t have many songs, and I did some covers. PM: And what about the friend that played the flute, who got the ball rolling? JS: You know what, she emailed me. She’s got three kids, and is a professor of something. She found my website, and got a hold of me. PM: It’s wild, the people that find you on the web. JS: Oh yeah, that happens a lot with me, because I chat a lot with people on my site, it’s a news group. So I get people from kindergarten that ask “Do you remember me?” It’s great. PM: So, you went back to Colorado and started a band. How many years before you came to Nashville? JS: First I went to New York. In ’88? It’s a little fuzzy. When I came back from Spain, that was ’82. Before I did my goodbye to Denver show and went to NYC, I was a big fish in a little pond. PM: Is Denver so small a pond? JS: The music thing, yeah, not too many people coming out of that scene. PM: Kenny Vaughn came out of Denver, right? [a very popular guitarist in Nashville, who’s toured with Lucinda and played and recorded with too many to mention] 3 JS: Right, Kenny was a hero there, and had the coolest punk band in town. So, there was a publisher from Nashville at my Farewell Denver show, Randy Talmadge, of Warner/Refuge. He said he’d love to work with an interesting non-Country artist, and eventually brought me to Nashville. I brought guys from Denver to Nashville, we played The Cockeyed Camel [long defunct] for the Nashville Extravaganza. That must have been 1990. PM: Who was that amazing keyboard player that first gigged with you here from Denver? JS: Eric Moon. Originally he called himself Eric Jacobson.
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